Woop, woop! I'm glad most everything came through (I think I might need to push the Isaac/Abraham thing harder)!

>I also get this sense the poems are addressing climate change and an apocalyptic future  

that sounds like something that'd just pop out naturally (in my writing) anyway, so I don't you're off

Knowing that the ancients loved chiastic structures and that they’re found in Beowulf and the bible, I’m not the least bit surprised that you’d be interested in them. As far as I can tell, this piece follows this structural pattern: ABCDEF FEDCBA, each side of the coin being a different voice (macrocosm / microcosm).  
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The first voice has nature as its object. The second line has two readings, due to the enjambment; one being that the moss is ageless or eternal, the other describing the origin of moss in the felling of trees (daggerlips (I love this word more each time I read it)). The Oread sea is also a beautiful image, reminds me of Les Oréades. “Snow capped crashes” is a nice bit of alliteration that mimics the action of the sentence.  
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The second voice zooms in on a particular boy. “These wails of a young boy, never quite breaking through the thicket” is lovely, I wish I had written it. “All the gentles sounds have left” is a little weak, in my honest opinion, bu

I think it's a good poem. My one piece of constructive criticism is that the adjective "gentle" is, as far as adjectives go, not very evocative (at least to me). Maybe consider replacing it with something more immediately powerful.

Chiastic Fugue Attempt